Rome, 1939 > Auroville, 2011
Anna Maria visited Auroville for the first time in 1973 after years of studies, work and poetical research (Goldoni prize in Venice, 1972).
In 1975 she settled in Auroville to live collectively her Adventure of Consciousness. For many years she took part in the work at the Matrimandir and in the pioneer life of that time. The contact with matter and the manual activities opened new, unexplored, fields for her creative energies.

Painting gave her the joy of discovering unsuspected realms of her inner life and the strong subtle connections existing between all living beings and what is considered ‘lifeless matter'.
‘All archetypal forms in the material universe are very simple, and for their evolution are following lines of a secret drawing….' She has since exhibited her paintings in many places in Italy (Milano, Torino, Bergamo , Ivrea, Novara , Intra, etc.) and in Chennai, Bangalore ,
Pondicherry and Auroville.
She was living in Certitude.Anna Maria her body on November 2011

I was running after a dream

To write a word

On the sands of time,

A white light

And a thunder

Pierced the lonely Night.

I saw Mother Earth sighing

Deeply, at Her burning core,

Her crystal memories

Embraced my soul.

Anna Maria

....what appeared in the vision was the ‘intent' behind the form, the lines of a secret drawing visible only from a height of transcendence, the simplicity of which was astonishing. I started to follow the dance of white snow flakes innumerable variations and I could see galaxies sailing along the spiral lines of a shell and the hexagonal patterns on the carapace of a tortoise being repeated infinitely by busy bees forming their hives. White light is the source of creation: the face of the Universal Mother appearing inside a white hexagon, the origin of all material forms and She manifests these lines in accordance with the Truth which is central to Her power.

- Anna Maria

PREFACE TO A PICTORIAL POETRY

Perhaps it is not possible to understand or better ‘to enter' in the pictorial essence of Anna Maria Pezzetta if we do not try to connect ourselves to aesthetics directly proportional to a world of ‘primordial' knowledge which has its own intimate roots in every cultural tradition both westerner or oriental. In particular, we can trace the link with pictorial writings as the hieroglyphs, the yantras or the mandalas which have the power to disclose to the modern man the secret knowledge to enter in contact with the different ‘parts' of the Being, both microcosmic and macrocosmic and, sometimes, even with the divinity.
In fact, we do not ever forget that, according to the most ancient traditions, Reason is only one of the means of human knowledge. There are other ways, if adequately developed, for knowing, more directly, not ‘syllogistic', what there is behind the physical veil.
There is, for instance, a subtle vision connected to the functioning of a chakra in the subtle body, commonly known as ‘third eye', which, once open, can range on visual fields of Knowledge otherwise occult as their vibratory substance is more subtle.
The same happens in the auditive field with regard to the ultra-sounds, compared to the normal vibratory range of sounds. But, the ‘vision of the soul' exists and in every cultural tradition is possible to find more than traces in multiform artistic ways.
I dare to say that every great artist has to go past the fields of the ‘mere reason' to create a masterpiece.
Anna Maria's paintings were ‘seen' somewhere else and than translated on canvas and they are means of a more synthetic knowledge: many complete puzzles in themselves instead of simple separate pieces.